CATALOGUE  OF 

MEXICAN  MAIOLICA 

BELONGING  TO 

MRS.  ROBERT  W.  DE  FOREST 

EXHIBITED  BY 

THE  HISPANIC  SOCIETY  OF  AMERICA 

FEBRUARY  18  TO  MARCH  19,  1911 

BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 


THE  HISPANIC  SOCIETY  OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1911 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/catalogueofmexicOOhisp 


Pair  of  water  jars.  Polychrome  Decoration 
Made  at  Puebla,  Mexico,  about  1800 
(See  Nos.  73  and  72) 


CATALOGUE  OF 


MEXICAN  MAIOLICA 

BELONGING  TO 

MRS.  ROBERT  W.  DE  FOREST 

EXHIBITED  BY 

THE  HISPANIC  SOCIETY  OF  AMERICA 

FEBRUARY  18  TO  MARCH  19,  1911 

BY 

EDWIN  ATLEE  BARBER,  PH.D. 

Director  of  the  Pennsylvania  Museum  and  School  of  Industrial  Art 


THE  HISPANIC  SOCIETY  OF  AMERICA 
156th  STREET,  WEST  OF  BROADWAY 
NEW  YORK,  1911 


Copyright,  1911,  by 

The  Hispanic  Society  of  America 


MEXICAN  MAIOLICA 


). 


MEXICAN  MAIOLICA 


INTRODUCTORY  NOTES 

THE  glazing  of  earthenware  with  oxid  of  tin  is 
now  believed  to  be  of  Saracenic  origin,  having 
first  been  introduced  into  Egypt  and  Persia  by  the 
Arabs,  who  afterward  carried  the  art  into  Morocco, 
whence  it  was  taken  by  the  Moors  into  Spain.  Work- 
men who  went  from  Spain  to  Italy  established  the  art 
in  the  latter  country.  It  next  appeared  in  France,  at 
Nevers  and  other  places,  and  soon  after  in  Holland 
and  Germany,  gradually  spreading  to  almost  every 
section  of  the  Continent  and  into  England. 

It  was  not  known  to  ceramic  writers  until  five  or 
six  years  ago  that  tin-enameled  pottery  had  ever  been 
produced  in  the  Western  Hemisphere.  Isolated  ex- 
amples of  maiolica  had  been  brought  back  by  Ameri- 
can tourists  in  Mexico  from  time  to  time,  but  these 
were  supposed  to  be  of  Spanish  workmanship  and 
were  known  as  Talavera  ware.  Writers  have  fre- 


quently  described  the  elaborate,  and  often  remarkable, 
tile-work  of  the  old  churches,  convents,  and  other 
religious  foundations  of  that  country,  with  scarcely  a 
thought  as  to  its  origin.  Recent  investigations,  how- 
ever, have  resulted  in  the  discovery  that  true  stanni- 
ferous faience  was  made  in  Mexico  by  Spanish  pot- 
ters and  their  native  pupils  as  early  as  the  sixteenth 
century,  and  continued  to  be  produced  on  a consider- 
able scale  until  the  present  time.  The  ancient  seat  of 
the  manufacture  was  Puebla,  and  for  more  than  three 
centuries  that  city  enjoyed  a monopoly  of  the  maiolica 
industry. 

Puebla,  or  La  Puebla  de  los  Angeles  (the  Town  of 
the  Angels),  was  founded  as  a new  city  by  the  Span- 
iards in  1532.  At  the  beginning  of  the  seventeenth 
century  its  manufactures  of  cotton,  wool,  glassware, 
and  pottery  had  been  firmly  established  and  were 
famed  throughout  New  and  Old  Spain.  Unglazed 
pottery  had  been  produced  by  native  workmen  since 
the  time  of  the  Conquest,  but  glazing  was  not  intro- 
duced until  potters  were  brought  from  Spain.  Consul- 
General  A.  M.  Gottschalk,  lately  of  Mexico  City,  in  a 
recent  report  to  the  State  Department  at  Washington, 
states : “In  the  early  days  of  Puebla’s  history  the 
Dominican  friars,  struck  by  the  aptitude  of  their  Az- 
tec parishioners  at  making  crude  native  pottery,  and 

m 


desirous  also  of  obtaining  tiles  for  the  monastery  and 
church  which  they  were  building,  sent  word  to  the 
Dominican  establishment  at  Talavera  de  la  Reina,  in 
the  province  of  Toledo,  Spain,  that  they  could  make 
good  use  of  five  or  six  of  the  brotherhood  who  were 
acquainted  with  the  Spanish  process  of  pottery-mak- 
ing, if  such  could  be  sent  to  them.  Accordingly,  a 
number  of  Dominican  friars,  familiar  with  the  clay- 
working processes  in  use  at  Talavera,  were  assigned 
to  the  Puebla  house  of  their  order,  and  under  them 
were  trained  a generation  of  workmen  who  for  the 
first  few  succeeding  years  produced  some  excellent 
pieces.” 

By  1653  the  maiolica  industry  of  Puebla  had  grown 
to  such  proportions,  without  restriction  of  any  sort, 
that  it  became  advisable  to  organize  an  association 
for  the  mutual  protection  and  assistance  of  the  mas- 
ter potters.  Accordingly,  a Potters’  Guild  was  estab- 
lished in  this  year,  records  of  which  have  been  found 
among  the  official  archives  of  the  city.  The  laws 
which  were  adopted  regulated  the  preparation  of 
clays  and  glazes,  the  qualities  of  the  different  grades 
of  pottery,  the  character  of  the  decorations,  the  sizes 
of  household  utensils,  and  the  sale  of  wares,  and  re- 
quired the  marking  of  each  piece  with  the  initials  or 
monogram  of  the  maker,  penalties  being  provided 


for  the  counterfeiting  or  falsification  of  the  trade- 
marks. 

The  first  examiners  of  the  guild  (in  1653),  before 
whom  every  applicant  was  required  to  appear  to  prove 
his  qualifications  and  eligibility  to  membership,  were 
Diego  Salvador  Carreto,  Damian  Hernandez,  and 
Andres  de  Haro.  A few  years  later  (apparently  in 
1662)  Antonio  Marques  of  Santillana,  Spain,  one 
Roque  of  Talavera,  Spain,  and  Jose  Ramos,  master 
potters  of  Puebla,  represented  the  guild  in  petitioning 
the  city  to  turn  over  to  that  organization  the  originals 
of  the  laws  relating  to  the  trade,  and  setting  forth  the 
rights,  privileges,  and  obligations  of  the  members. 
These  decrees  remained  in  force  until  1676  and 
possibly  later.  After  the  latter  date,  however,  the 
organization  appears  to  have  languished,  since  no  sub- 
sequent record  has  been  discovered  in  the  books  of  the 
corporation  of  the  city,  and  the  provisions  for  the 
protection  of  the  craft  were  apparently  no  longer  en- 
forced. 

Several  influences  were  at  work  in  the  seventeenth 
century  in  developing  the  art  of  maiolica-making  in 
Mexico.  The  earliest  pieces  which  are  known  to  us, 
produced  before  1700,  are  embellished  with  strap- 
work  and  scrolled  patterns  in  Moresque  style.  An 
excellent  example  of  this  variety,  from  the  lavatory 

m 


of  the  old  convent  of  San  Francisco  at  Atlixco,  is  a 
laver,  or  basin,  some  twenty  inches  in  diameter,  dec- 
orated in  dark  blue  outlined  with  black,  now  in  the 
collection  of  the  Pennsylvania  Museum  in  Phila- 
delphia. A similar  specimen,  owned  in  Mexico,  bears 
around  the  margin  the  explanatory  inscription,  “Soy 
para  labar  los  sacryfycadores  y no  mas”  (“I  am  for 
washing  the  sacrificers  [hands]  and  for  nothing 
else”).  The  most  important  work  of  this  character, 
however,  is  probably  the  dado  in  the  Chapel  of  the 
Rosary,  belonging  to  the  Church  of  Santo  Domingo 
in  Puebla  (erected  in  1690),  which  consists  of  tin- 
enameled  tiles  painted  with  a strapwork  design  in  blue 
and  white,  alternating  with  panels  of  other  tiles  em- 
bossed with  patterns  in  Moorish  taste. 

The  Spanish  influence  naturally  impressed  itself 
upon  the  glazed  pottery  of  Mexico  at  an  early  date, 
through  the  craftsmen  who  were  brought  from  Tala- 
vera  and  other  places  in  Spain.  From  about  1600  to 
1650  the  Spanish  style  of  painting,  by  which  we  mean 
the  introduction  of  birds  and  animals  and  figures  of 
saints  among  the  decorative  motives,  largely  prepon- 
derated. But  about  the  middle  of  the  seventeenth  cen- 
tury the  extensive  importation  of  Chinese  porcelains 
into  Mexico,  through  the  port  of  Acapulco,  began  to 
stimulate  the  artistic  zeal  of  the  Pueblan  potters,  who 


soon  commenced  to  imitate  the  Oriental  forms  and 
paintings,  and  rapidly  developed  a pseudo-Chinese 
style,  which  continued  until  about  the  middle  of  the 
following  century. 

By  the  beginning  of  the  nineteenth  century  the  Chi- 
nese influence  had  entirely  disappeared,  and  the  later 
debased  polychrome  style  of  the  Talavera  maiolica, 
which  was  developed  in  Spain  in  the  latter  part  of  the 
eighteenth  century,  was  adopted  in  Mexico,  which 
marked  the  beginning  of  the  decadence  of  the  art. 
New  colors  were  introduced,  and  the  products  of  the 
Hispano-Mexican  period,  which  continued  from 
about  1800  to  i860,  became  gaudy  and  flamboyant, 
and  over-decoration  vulgarized  the  ware. 

Since  this  art  was  introduced  into  Mexico  by  the 
priesthood,  we  may  naturally  expect  to  find  in  the 
ecclesiastical  edifices  of  that  country  the  best  work  of 
the  early  craftsmen.  Here  were  placed  the  most  in- 
tricate designs  in  tile- work,  such  as  friezes  and  panels, 
made  to  fill  special  orders ; entire  fagades  of  churches 
and  convents  were  covered  with  tiles  in  the  most 
elaborately  executed  patterns ; tile-incrusted  domes  in 
many  colors  were  often  surrounded  by  glazed  stat- 
uettes; wall  mosaics  of  great  size  were  painted  with 
scriptural  and  legendary  scenes;  extensive  lavatories 
with  enormous  maiolica  basins  beautifully  decorated 

m 


were  erected  for  the  use  of  the  clergy ; baptismal  and 
holy-water  fonts,  and  services  for  the  tables  of  the 
convents  and  other  religious  houses,  were  produced  in 
great  abundance. 

Having  executed  the  more  pressing  orders  of  the 
priests,  the  potters  were  free  to  supply  the  needs  of 
the  people,  and  vast  quantities  of  articles  were  pro- 
duced for  household  use,  such  as  bath-tubs  or  cisterns, 
covered  dishes,  bowls,  basins,  benitiers,  inkstands, 
sand-sprinklers,  salt-cellars,  candlesticks,  and  large 
jars  for  storing  liquids,  vanilla,  chocolate,  and  other 
foods.  Among  the  objects  most  frequently  met  with 
are  tall,  cylindrical  vessels,  of  the  form  of  the  Spanish 
and  Italian  albarelli,  which  were  used  to  hold  drugs, 
but  more  frequently  served  as  receptacles  for  cut 
flowers,  which  have  always  been  cultivated  in  great 
profusion  by  the  Mexicans,  and  jardinieres  and 
flower-pots  in  the  forms  of  barrels  and  urns,  for 
growing  plants,  which  were  placed  in  the  gardens  or 
set  on  the  balconies  around  the  four  sides  of  the 
patios,  or  inner  courts. 

The  dwellings  of  the  wealthier  classes  were  fre- 
quently beautified,  both  externally  and  internally, 
with  tile-work  of  attractive  designs  and  colorings. 
Panels  painted  with  figures  of  saints,  coats  of  arms, 
and  inscriptions  were  set  in  the  walls  of  apartments 


and  staircases  and  over  the  entrances  to  the  courts. 
In  many  of  the  cemeteries  tiles  were  also  used  in  the 
ornamentation  of  graves  and  tombstones.  Some  of 
these,  painted  with  figures  of  saints,  may  still  be 
found  in  place. 

We  learn  from  the  records  of  the  Potters’  Guild, 
preserved  in  the  archives  of  the  city  of  Puebla,  that 
three  varieties  of  pottery  were  fabricated,  “the  fine, 
the  common,  and  the  yellow,  such  as  jars,  pots,  vases, 
pans,  strainers,  etc.”  It  was  decreed  that  “no  one 
can  manufacture  pottery,  either  fine  or  common,  with- 
out passing  the  examination  required  in  the  kind  of 
pottery  he  expects  to  make.  He  may  only  make  the 
kind  in  whose  manufacture  he  is  examined,  unless 
perchance  his  examination  has  been  on  all.” 

It  was  also  specified  that  the  fine  pottery  should  be 
“painted  in  blue  and  finished  in  black  with  dots  along 
the  borders  and  edges,  . . . and,  in  order  that  there 
may  be  variety,  the  other  style  of  decoration  for 
this  fine  ware  shall  be  in  imitation  of  the  Talavera 
ware,  or  figures  and  designs  in  colors.  . . . Also  in 
making  the  fine  wares  the  coloring  should  be  in  imi- 
tation of  the  Chinese  ware,  very  blue,  finished  in  the 
same  style  and  with  relief -work  in  blue.” 

A critical  examination  of  the  collections  of  Puebla 
pottery  which  are  accessible  to  us  enables  us  to  divide 

[IOH 


these  wares  into  four  classes,  based  on  their  distinctive 
forms  and  characteristic  decorations,  as  follows : 


1.  The  Moresque  style 

2.  The  Spanish,  or  Talavera,  style 

3.  The  Chinese  style 

4.  The  Hispano-Mexican,  or 

Pueblan,  style 


>Blue  monochrome. 


Polychrome. 


These  varieties  may  be  roughly  separated  into  two 
groups,  the  first  being  composed  of  those  examples 
which  were  produced  previous  to  1800,  which  were 
decorated  in  blue;  the  second  consisting  of  those 
pieces  which  were  made  during  the  nineteenth  cen- 
tury, which  were  painted  in  various  colors.  The  blue 
color  was  thickly  applied  and  stands  out  in  perceptible 
relief,  a peculiarity  which  enables  the  collector  to  dis- 
tinguish the  Mexican  maiolica  from  the  Spanish, 
which  latter  was  always  painted  with  thin,  flat  pig- 
ments. 

In  the  Hispanized,  or  Talavera,  style,  of  the  second 
class,  the  Italian  influence  can  occasionally  be  traced. 
It  is  known  that  maiolists  went  from  Italy  to  Spain 
in  the  seventeenth  century,  and  it  is  not  surprising 
that  the  pottery  of  Talavera  and  other  maiolica  cen- 
ters of  the  latter  country  should  present  certain  re- 
semblances to  the  productions  of  Savona  and  Genoa. 


The  characteristics  of  the  early  Talavera  wares  of 
Spain  are  the  absence  of  metallic  lusters,  which  were 
so  prominent  a feature  in  the  products  of  Malaga  and 
Valencia,  and  the  prevalence  of  blue  color  in  the  white 
enamel  of  the  ground.  Animal,  bird,  and  human 
forms  were  introduced,  in  combination  with  foliated 
and  floriated  ornaments,  frequently  crowded  together 
without  regard  to  position  or  fitness.  In  the  earlier 
Mexican  maiolica  of  the  Talavera  period  these  pecu- 
liarities are  strongly  marked.  The  influence  of  the 
Malaga  or  Valencia  potters  does  not  appear  to  have 
penetrated  into  Mexico,  since  no  lustered  pieces  have 
yet  been  found  among  the  fabrications  of  Puebla. 

Although  these  four  modes  of  execution,  which 
received  their  inspiration  from  widely  divergent 
sources,  were  well  marked,  they  were  frequently  com- 
bined in  the  same  pieces.  While,  on  the  one  hand, 
we  find  examples  which  in  form  and  design  are  con- 
sistently Spanish,  or  Oriental,  in  spirit,  on  the  other, 
we  meet  with  objects  of  Chinese  shape  with  ornamen- 
tation in  Moorish,  Spanish,  or,  occasionally,  Aztec 
taste,  the  latter  having  been  introduced  by  Indian  ap- 
prentices. Large  bowls  and  barrel-shaped  jardinieres 
of  Spanish  form  are  frequently  decorated  in  the  Chi- 
nese manner.  It  is  owing  to  these  almost  limitless 
variations  and  combinations  of  modeling  and  decora- 


tive  treatment  that  the  study  of  Mexican  maiolica 
possesses  such  absorbing  interest  and  presents  so 
many  surprises  to  the  ceramic  student. 

The  Talavera  style  of  Mexican  pottery  is  of  at  least 
two  distinct  varieties.  The  earliest  is  that  to  which 
we  have  applied  the  term  tattooed in  which  the 
ground  is  thickly  set  with  rudely  painted  dots  and 
dashes  in  dark  blue,  interspersed  with  small  animal 
motives  surrounding  the  principal  decorative  designs, 
a style  which  flourished  between  about  1660  and  1700. 
A peculiarity  of  this  treatment  is  the  depressed  ap- 
pearance of  the  tattooed  ornamentation,  the  color 
having  sunk  into  the  surface  of  the  white  enamel. 

Next  in  chronological  order  is  the  characteristic 
decoration,  found  principally  on  albarelli  and  spheri- 
cal jars,  in  which  birds,  flowers,  and  conventional 
devices  are  boldly,  but  rudely,  painted  in  silhouette,  in 
solid,  raised  dark  blue,  a method  of  treatment  which 
was  in  vogue  from  about  1700  to  1750. 

Of  the  third  class,  painted  in  blue  monochrome  or 
camaieu,  in  Chinese  taste,  four  different  styles  may  be 
distinguished.  The  first  of  these  is  characterized  by 
solid  dark-blue  grounds,  thickly  applied,  surrounding 
figure  designs  reserved  in  the  white  surface.  The 
second  variety,  treated  in  the  opposite  manner,  is 
embellished  with  Chinese  figure  subjects  painted  on 


the  white  surface.  The  third  style  shows  European 
figure  motives,  usually  combined  with  Oriental  de- 
tails, while  the  fourth  consists  of  alternate  white 
and  blue  medallions  of  irregular  form,  ornamented 
with  floral  and  conventional  patterns,  painted  on  the 
white  field,  and  reserved  in  the  blue. 

The  rules  for  the  government  of  the  members  of 
the  Potters’  Guild,  which  flourished  in  Puebla  in  the 
seventeenth  century,  throw  much  light  on  the  com- 
position of  the  early  wares.  The  glaze  for  fine 
pottery  contained  four  and  one-sixth  parts  of  lead 
to  one  of  tin,  a somewhat  less  proportion  of  the  lat- 
ter ingredient  than  is  used  by  the  modern  Pueblan 
potters.  In  consequence  of  the  greater  care  exer- 
cised in  the  preparation  of  materials,  however,  the 
glaze  of  the  older  ware  is  more  even  and  homogen- 
eous than  that  of  the  present-day  maiolica.  For  the 
common  wares  the  glaze  consisted  of  twelve  and  a 
half  parts  of  lead  to  one  of  tin.  Since  the  lead  was 
incorporated  with  the  tin  before  the  composition  was 
applied  to  the  ware,  the  enamel  is  homogeneous  and 
so  hard  that  it  can  only  with  difficulty  be  scratched 
with  a steel  point. 

A careful  study  of  the  body  of  Puebla  maiolica 
reveals  the  fact  that  the  clays  employed  were  ap- 
parently of  two  kinds,  white  and  red.  These  two 


varieties  will  be  found  to  occur  in  the  earliest  pieces 
as  well  as  those  of  recent  date.  The  white  body  is 
much  softer  than  the  red,  the  difference  in  color 
being  caused  by  the  degree  of  heat  to  which  the  ware 
was  subjected  at  the  first  firing,  or  the  length  of  time 
it  was  allowed  to  remain  in  the  kiln.  When  baked 
slightly  the  clay  appears  white  and  porous,  and  so 
soft  that  it  can  be  readily  cut  with  a knife;  but  when 
allowed  to  remain  longer  in  the  kiln,  at  a high 
temperature,  it  becomes  partially  vitrified  and  con- 
siderably harder,  and  of  a deep  pink  or  reddish  hue, 
increasing  in  density  with  the  darkening  of  the  color. 
Thus  the  tint  of  the  body  bears  no  relation  to  the 
antiquity  of  the  ware,  nor  does  it  indicate  the  locality 
from  which  the  clay  was  obtained.1  It  is  true  that 
two  varieties  of  clay  are  used — white  clay  obtained 
at  San  Bartolo,  San  Pedro,  and  Santo  Tomas,  hills 
near  the  village  of  Totomehuacan,  five  kilometers 
from  Puebla,  and  red  clay  from  Loreto  and  Guada- 
lupe, in  the  vicinity  of  Puebla ; but  these  are  always 
combined  in  equal  parts  to  produce  the  results  de- 


bit is  a curious  fact,  however,  that  many  of  the  best  pieces  of  the 
earlier  ware  were  only  slightly  fired  and,  as  a result,  possess  a 
light-colored  body,  which  in  some  instances  is  almost  as  soft  as 
chalk,  but  is  always  covered  with  a hard  enamel.  The  larger 
and  coarser  pieces  were  usually  burned  more  thoroughly  and  are 
consequently  more  vitreous  and  of  a darker  tint  beneath  the  glaze. 


sired.  It  is  stated  that  no  other  combination  of  clays 
is  employed  and  that  neither  the  red  nor  the  white 
clay  can  be  used  alone  with  satisfactory  results. 

Since  it  is  to  be  presumed  that  the  law  requiring 
the  marking  of  pottery  during  the  existence  of  the 
Potters’  Guild  in  Puebla,  from  1653  to  1676,  was 
strictly  observed,  we  would  expect  to  find  pieces  of 
that  period  bearing  the  registered  devices  of  their 
makers.  While  early  specimens  of  this  character  are 
comparatively  rare  at  this  late  date,  numerous 
marked  pieces  have  been  found.  Among  these  pri- 
vate marks  we  find  the  letter  F,  usually  on  tiles 
painted  with  human  figures  and  animals  in  Chinese 
taste.  The  representation  of  a bee  also  frequently 
figures  among  the  decorations  on  tiles  from  the 
same  fabrique,  evidently  the  private  device,  prob- 
ably standing  for  the  initial  of  the  name,  of  a potter 
or  decorator.  The  letters  “he”  are  painted  in  blue  on 
the  sides  of  ornate  jars.  Enormous  bowls,  or  basins, 
sometimes  bear  the  letters  C.  S.  A large  laver, 
showing  Moorish  influence,  is  marked  with  a cursive 
A.  Among  the  other  devices  which  have  come  to 
light  are  a character  resembling  a florid  y,  the  mono- 
grams and  initials  To,  O R (the  O above  the  R), 
M A,  the  monograms  SCo  and  CAo  (the  o over  the 
A)  in  black,  the  letter  Z in  blue,  and  a brown  V with 


the  figures  6 and  8 at  the  ends  of  the  arms.  Some 
of  the  more  important  pieces  bear  simple  and  com- 
plex crosses  scratched  in  the  paste  or  traced  in  blue 
and  extending  almost  entirely  across  the  bases.  All 
of  the  dark-blue  marks  occur  on  pieces  belonging  to 
the  latter  half  of  the  seventeenth  century.  Those  in 
black  and  brown  are  found  on  vessels  belonging  to 
the  first  half  of  the  nineteenth  century,  when  the 
marking  of  pottery  appears  to  have  been  revived. 
In  the  absence  of  a complete  list  of  members  of  the 
original  guild,  or  a directory  of  the  potters  of  the 
early  nineteenth  century,  the  exact  significance  of 
these  marks  has  not  yet  been  determined. 

Without  sufficient  authentic  records  we  can  only 
fall  back  upon  tradition  to  throw  light  on  the  extent 
of  the  pottery  industry  in  Mexico  during  the  seven- 
teenth and  eighteenth  centuries.  The  great  numbers 
of  early  pieces  which  have  survived  would  indicate 
the  existence  of  numerous  establishments  at  differ- 
ent periods.  Toward  the  middle  of  the  seventeenth 
century,  according  to  the  statements  of  some  of  the 
older  potters,  whose  ancestors  for  several  genera- 
tions produced  maiolica  in  Puebla,  there  were  at 
least  ten  or  twelve  manufacturers  in  that  city.  About 
1750,  when  the  industry  had  reached  its  height,  some 
thirty  potteries  were  in  operation.  Bancroft,  in  his 


“History  of  Mexico,”  informs  us  that  in  1793  there 
were  fifty-six  establishments  for  the  making  of  glass 
and  pottery,  but  that  the  number  was  reduced  to 
eighteen  at  the  beginning  of  the  nineteenth  century. 
Toward  the  middle  of  the  century  the  number  had 
decreased  to  about  twelve.  At  the  present  time  only 
six  locerias  are  active,  where  the  common  grades  of 
utilitarian  wares  and  tiles,  entirely  devoid  of  artistic 
merit,  are  being  produced.  The  recent  demand 
among  collectors  for  early  pieces,  however,  has  en- 
couraged some  of  the  manufacturers  to  imitate  the 
old  designs,  and  more  or  less  dangerous  forgeries 
are  frequently  met  with  in  the  curiosity-shops  of 
Mexico. 

In  1900,  Senor  Enrique  L.  Ventosa  of  Puebla, 
who  came  from  Barcelona,  Spain,  having  obtained 
his  art  education  in  Paris,  commenced  to  elevate  the 
modern  standard  of  the  art  by  reviving  many  of 
the  old  designs.  His  work  is  characterized  by  con- 
scientious adherence  to  the  spirit  of  the  originals. 
He  has  made  a thorough  study  of  the  ancient  maiol- 
ica  of  Mexico,  and  his  knowledge  of  the  old  Spanish 
wares  has  enabled  him  to  combine  in  his  productions 
the  Mexican  and  Spanish  methods,  using  the  motives 
which  are  found  in  both,  to  originate  a style  which, 
while  based  on  the  traditions  of  the  Mexican  art,  is 


so  distinctive  in  treatment  that  it  can  be  recognized 
without  difficulty. 

It  is  only  within  the  past  few  years  that  the  Mexi- 
cans themselves  have  commenced  to  recognize  the 
true  character  of  the  tin-enameled  pottery  which  is 
found  in  their  country.  Collectors  in  various  parts 
of  the  republic  have,  as  the  result  of  recent  discov- 
eries, turned  their  attention  to  the  gathering  together 
and  preservation  of  these  remains  of  one  of  the 
earliest  of  Hispano-Mexican  arts.  Of  these  local 
collections,  that  formed  by  Mr.  Albert  Pepper,  an 
architect,  of  the  City  of  Mexico,  has  been  recognized 
for  many  years  as  one  of  the  most  important.  In 
the  Pennsylvania  Museum,  Philadelphia,  may  be 
seen  a representative  group  of  these  early  wares. 
The  interest  in  this  subject,  however,  has  not  been 
confined  to  America,  for  we  learn  that  European 
collectors  have  lately  been  attracted  to  this  field  of 
research,  and  groups  of  Mexican  maiolica  have  al- 
ready been  sent  to  Germany,  France,  and  England. 

Mrs.  Robert  W.  de  Forest,  who  for  many  years 
has  been  engaged  in  collecting  the  folk  pottery  of  all 
peoples,  during  a trip  to  Mexico  in  1904  became  in- 
terested in  the  pottery  of  Puebla,  and  at  that  time 
gathered  together  the  nucleus  of  her  present  collec- 
tion. Through  the  assistance  of  Mrs.  Zelia  Nuttall 

D9] 


of  Coyoacan,  she  has  been  able  to  add,  from  time  to 
time,  many  rare  and  valuable  examples,  and  her 
recent  acquisition  of  the  well-known  collection  of  Mr. 
Albert  Pepper  has  made  her  collection  one  of  the 
most  extensive  and  representative  of  its  kind.  It  is 
particularly  rich  in  polychrome  pieces,  dating  from 
about  1800  to  i860,  of  which  Nos.  72,  73,  74,  75,  and 
1 1 6 are  especially  noteworthy.  Among  the  earlier 
pieces,  in  dark  blue,  special  attention  is  called  to  Nos. 
4,  63,  and  64. 

The  maiolica  of  Mexico,  crude  and  inartistic  as  it 
frequently  appears,  possesses  an  element  of  manly 
vigor,  in  the  boldness  of  its  modeling  and  decorative 
treatment,  which  gives  it  an  individuality  of  its  own. 
The  reflection  of  the  virile  art  of  Spain,  combined 
with  the  refining  influence  of  Oriental  traditions,  re- 
sulted in  the  development  of  a composite  style  of 
pottery,  which  at  its  best  period,  between  1650  and 
1750,  was  quite  distinct  from  the  wares  produced  in 
any  other  country. 


Edwin  AtLee  Barber. 


CATALOGUE  OF  MEXICAN  MAIOLICA 

BELONGING  TO 

MRS.  ROBERT  W.  DE  FOREST 


CATALOGUE  OF 
MEXICAN  MAIOLICA 


I 

SHOWING  SPANISH  INFLUENCE 

(a)  TATTOOED  STYLE 

165O-I7OO 

1 Jar  with  fern  leaf,  bird,  and  animal  decoration 
in  dark  blue.  Reserved  white  label  for  name. 
About  1660-1680.  Height  11  inches. 

2 Pair  of  jars.  Fern  leaf,  floral,  and  bird  decora- 
tion in  dark  blue.  Marked  “h  e”.  Reserved 
white  label  for  name.  About  1660-1680. 
Height  10^8  inches. 

3 Jar  with  six  (6)  serpentine  handles,  fern  leaf 
and  bird  decoration  in  dark  blue.  About  1660- 
1680.  Height  9^4  inches. 

4 Laver.  Central  figure  of  a woman  surrounded 
by  fern  leaf  and  bird  designs  in  dark  blue. 


Marked  “h  e”.  About  1660-1680.  Diameter 
20%  inches.  Plate  I. 

5 Plate.  Decorated  with  the  figure  of  a man  car- 
rying a banner,  in  dark  blue.  About  1670. 
Marked  “Z”.  Diameter  8^  inches.  Plate  II. 

6 Lid  of  jar.  Fern  leaf  and  animal  decorations 
(hares  and  fishes)  in  dark  blue.  About  1680. 
Diameter  10^  inches. 

7 Large  plate  or  plaque.  Fern  leaf,  bird,  animal, 
and  flower  decoration  in  dark  blue.  About  1680. 
Diameter  14  inches. 


(b)  SILHOUETTE  AND  OTHER  STYLES, 

IN  RAISED  BLUE 
1700-1800 

8 Chocolate  jar.  Conventional  and  bird  decora- 

tion. Iron  collar;  lid  and  lock  missing.  About 
1700.  Height  lO}i  inches.  Plate  III. 

9 Pair  of  jars.  Conventional  and  bird  decoration. 
About  1700.  Height  I0j4  inches.  Plate  IV. 

10  Large  jar.  Conventional  bird  and  floral  decora- 
tion in  dark  blue.  About  1700.  Height  16 
inches. 


Plate  I. 


Plate  II. 


Plate 


Plate  IV. 


An 


11  Albarello  or  drug  jar.  Conventional  floral  deco- 
ration in  dark  blue.  Reserved  white  label  for 
name.  About  1700.  Height  ioj/2  inches. 

Plate  VII. 

12  Albarello  or  drug  jar.  Conventional  floral  deco- 
ration. About  1700.  Heig'ht  6j4  inches. 

Plate  VIII. 

13  Albarello  or  drug  jar.  Conventional  floral  and 
bird  decoration.  About  1700.  Height  6^4 
inches. 

14  Albarello  or  drug  jar.  Conventional  decoration, 

palm  tree,  house,  etc.,  in  dark  blue.  Arms  of 
Franciscan  convent  in  brown.  About  1700- 
1750.  Height  8^4  inches.  Plate  XI. 

Albarello  or  drug  jar.  Conventional  bird  and 
floral  decoration  in  dark  blue.  About  1700- 
1750.  Height  Ilj4  inches.  Plate  VII. 

1 6 Albarello  or  drug  jar.  Conventional  bird  and 
floral  decoration  in  dark  blue.  About  1750. 
Height  ioj4  inches. 

The  pink  tint  of  the  clay  is  caused  by  the  more 
thorough  burning  of  the  ware. 

17  Albarello  or  drug  jar.  Bird  and  hare  motives  in 
dark  blue.  About  1750-1800.  Height  10  inches. 

Shows  traces  of  having  been  covered  with  sil- 


ver,  and  evidently  used  at  one  time  as  a flower 
vase  in  a church  or  a convent.  Plate  IX. 

1 8 Albarello  or  drug  jar.  Bands  of  conventional 
decorations  in  dark  blue.  About  1750.  Height 
10  inches. 

19  Albarello  or  drug  jar.  Bands  of  conventional 

decorations  in  dark  blue.  About  1750.  Height 
10^8  inches.  Plate  X. 

20  Albarello  or  drug  jar.  Ornamental  bands  with 

reserved  white  scroll-work  in  blue  ground. 
About  1750.  Height  5%  inches.  Plate  IX. 

21  Jar.  Ornamental  bands  with  reserved  white 

scroll-work  in  blue  ground.  About  1750.  Height 
6j4  inches.  Plate  VIII. 

22  Albarello  or  drug  jar.  Fern  leaf  decoration  in 
raised  blue.  About  1750.  Height  g1/^  inches. 

23  Albarello  or  drug  jar.  Conventional  floral  deco- 
ration in  dark  blue.  About  1750.  Height 
inches. 

24  Albarello  or  drug  jar.  Bands  of  conventional 
decoration  in  dark  blue.  About  1750—1800. 
Height  10 inches. 

C 34  H 


Plate  V. 


Plate  VII. 


Plate  VIII. 


Plate  IX. 


25  Pair  of  jars.  Conventional  bird  and  floral  deco- 
ration. About  1750-1800.  Height  9 inches. 

Plate  III. 

26  Spherical  jar.  Blue  decoration,  with  Carmelite 

arms  in  brown,  green,  and  orange.  About  1775- 
1800.  Height  10^  inches.  Plate  V. 

27  Pair  of  barrel-shaped  jardinieres.  Conventional 

bird  and  checker-board  decoration  in  dark  blue. 
About  1750-1780.  Height  1354  inches  and 

1554  inches.  Plates  VI  and  XXL 

28  Cylindrical  jar.  Conventional  decoration  in  dark 

blue.  About  1750-1780.  Height  ioj4  inches. 

Plate  XII. 

29  Pair  of  square  bottles.  Decorated  with  figures 
of  birds  and  buildings  in  dark  blue.  Nineteenth 
century.  Height  6j4  inches. 

30  Cover  of  jar.  Scale  decoration  in  blue.  About 

1800.  Diameter  inches. 

31  Inkstand.  Hexagonal  form.  Conventional  floral 

decoration  in  dark  blue.  About  1750.  Diameter 
4 inches.  Plate  XIII. 

32  Inkstand.  Hexagonal  form.  Conventional  floral 
decoration  in  dark  blue.  About  1750.  Diameter 
3%  inches. 


33  Sand-shaker.  Hexagonal  form.  Conventional 

floral  decoration  in  dark  blue.  About  1750. 
Diameter  3 ^4  inches.  Plate  XIII. 

34  Sand-shaker.  Hexagonal  form.  Conventional 

floral  decoration  in  dark  blue.  About  1750- 
1780.  Diameter  3^  inches.  Plate  XIII. 

35  Bowl.  Conventional  floral  decoration  in  dark 
blue.  About  1800.  Height  10  $4  inches. 

36  Albarello  or  drug  jar.  Ornamental  bands  in 

dark  blue.  Carmelite  arms  in  brown.  About 
1800-1825.  Height  9C2  inches.  Plate  X. 

37  Albarello  or  drug  jar.  Fern  leaf  decoration  in 
blue.  About  1800-1825.  Height  ioT4  inches. 

38  Bowl  with  two  (2)  handles.  Fern  leaf  decora- 

tion in  blue.  About  1750-1800.  Height  3^ 
inches.  Plate  XXXIII. 

39  Basin.  Conventional  decoration  in  raised  blue. 

About  1800.  Diameter  inches.  Plate  XI. 

40  Plate  with  scalloped  edge.  Conventional  floral 
decoration.  About  1800.  Diameter  inches. 


41  Plate  with  scrolled  edge  and  fluted  cavetto.  Con- 


Plate  X. 


Plate  XI. 


Plate  XII. 


ventional  floral  decoration  in  dark  blue.  About 
1800-1825.  Diameter  8%  inches. 

42  Plate  with  scalloped  edge.  Conventional  floral 
decoration  in  blue.  About  1825.  Diameter  8^4 
inches. 

43  Large  plate  or  plaque.  Scalloped  edge.  Blue 
border  design.  About  1800-1825.  Diameter 
15  inches. 

44  Plate  with  scalloped  edge.  Conventional  design 
of  building  and  trees  in  dark  blue.  About  1800. 
Diameter  8JH$  inches. 

45  Covered  jar  with  handles.  Fern  leaf  and  con- 
ventional floral  decoration  in  dark  blue.  About 
1800.  Height  6 inches. 

46  Bottle-shaped  vase.  Fern  leaf,  bird,  and  animal 
motives  in  raised  dark  blue.  About  1700. 
Height  10%  inches. 

47  Plate.  Conventional  floral  designs  in  dark  blue. 
About  1800.  Diameter  7 inches. 

48  Plate.  Conventional  floral  designs  in  dark  blue. 
About  1800.  Diameter  7^4  inches. 

49  Albarello  or  drug  jar.  Conventional  floral  deco- 
ration in  blue.  About  1800.  Pleigbt  7%  inches. 

Plate  TX. 


50  Bowl.  Conventional  floral  decoration  in  raised 
dark  blue.  About  1750.  Diameter  4 inches. 
Inscribed  in  the  bottom  “Sangrias”. 

51  Jug  with  handle.  Conventional  decoration  in 
blue.  About  1800.  Height  8}4  inches. 

Plate  XIV. 

52  Pair  of  serpentine-handled  cups.  Conventional 
floral  decoration  in  blue.  About  1800.  Height 
3 inches  and  5 inches. 


53  Bottle.  Double  gourd-shape.  Conventional 

floral  decoration  in  blue.  About  1800.  Height 
7*4  inches. 

54  Benitier.  Blue  decoration  of  plants,  and  cross  in 
relief.  Nineteenth  century.  Height  7JJ  inches. 

Plate  XI JI. 

55  Benitier.  Blue  decoration.  Nineteenth  century. 
Height  6^4  inches. 

56  Salt-cellar.  Blue  decoration.  About  1825. 

Height  2 inches.  Plate  XV. 


57  Salt-cellar.  Blue  decoration.  About  1840. 

Height  2^4  inches.  Plate  XV. 

58  Bowl.  Conventional  ornament  in  blue.  About 
1 75°- 1800.  Diameter  15  inches. 


3late  XIV. 


Plate  XV. 


Plate  XVI. 


59  Plate  or  dish.  Decorated  with  conventional  or- 
naments and  mosque-shaped  building  in  dark 
blue.  About  1800.  Diameter  13^4  inches. 

60  Albarello  or  drug  jar.  Raised  blue  decoration. 

White  label  for  name.  About  1750-1800. 

Height  9^4  inches.  Plate  VII. 

61  Albarello  or  drug  jar.  Raised  blue  decoration. 

White  label  for  name.  About  1750-1800. 

Height  9^4  inches.  Plate  X. 

62  Albarello  or  drug  jar.  Raised  blue  decoration. 

White  label  for  name.  About  1750-1800. 

Height  5 inches.  Plate  XI. 


II 

SHOWING  CHINESE  INFLUENCE 
1650-1750 


63  Laver.  Around  the  sides  are  white  medallions 
with  baskets  of  flowers  in  Chinese  taste.  In  the 
center  is  the  double-headed,  crowned  eagle  of  the 
Austrian  dynasty.  This  interesting*  piece,  which 
is  decorated  in  heavy  blue,  reveals  the  combina- 
tion of  the  Spanish  and  the  Chinese  influences. 
About  1680-1700.  Diameter  17)4  inches. 

Plate  XVT. 


64  Vase  with  floral  decorations  painted  in  white  re- 

served medallions  surrounded  by  deep  blue 
ground  containing  reserved  white  ornamentation. 
The  form  and  decorative  treatment  are  strongly 
Oriental.  About  1680-1700.  Height  143/2 
inches.  Plate  XVII. 

65  Pair  of  barrel-shaped  flower  pots.  Floral  de- 

signs painted  in  white  medallions  surrounded  by 
dark  blue  ground.  The  shape  is  Spanish,  but  the 
decoration  shows  Chinese  influence.  About  1750. 
Height  S7A  inches.  Plate  XVIII. 

66  Bowl.  Blue  decorations  in  Chinese  taste.  About 
1800.  Diameter  inches. 

67  Pair  of  oval  dishes.  Figure  decoration  in  Chi- 
nese style.  About  1830.  Length  18  inches. 

Plate  XIX. 

68  Cover  of  jar  or  dish.  Conventional  decorations 
in  blue  in  Chinese  taste.  About  1800.  Diameter 
13^4  inches. 

69  Urn-shaped  flower  vase.  Blue  conventional  deco- 

rations showing  Chinese  influence.  About  1750. 
Height  12%  inches.  Plate  XX. 

70  Barrel-shaped  jardiniere.  Reserved  flower  me- 
dallions in  blue  ground.  The  form  of  the  vessel 


Plate  XVI  [. 


64 


Plate  XVIII. 


Plate  XIX. 


Plate  XX. 


Plate  XXI. 


Plate  XXTI. 


is  Spanish,  but  the  decoration  reveals  Oriental 
influence.  About  1700-1750.  Height  17  inches. 

Plate  XXI. 

71  Barrel-shaped  jardiniere.  Paintings  of  men  in 
Spanish  and  Chinese  costumes,  in  reserved  white 
medallions,  alternating  with  irregular  blue  me- 
dallions containing  reserved  white  decorations. 
The  figures  in  the  four  medallions  represent  a 
Chinaman  carrying  a jar,  a man  looking  through 
a telescope,  a Spaniard  playing  a guitar,  and  a 
man  in  Chinese  garb  with  arms  outstretched. 
The  decorations  show  Chinese  influence.  About 
1700-1750.  Height  18  inches.  Plate  XXII. 


Ill 


SHOWING  HISPANO-MEXICAN 
INFLUENCE 
1800-1900 

72  Water  jar  with  two  handles.  Decorated  in  poly- 
chrome— green,  blue,  yellow,  brown,  and  rose. 
Around  the  center  are  painted  figure  scenes  from 
Indian  life.  An  Indian  carrying  two  water  ves- 
sels is  approaching  a well.  A Mexican  is  shown 
carrying  two  jugs,  while  beside  him  a boy  is 
ascending  a ladder  leading  to  an  upper  window 

„ 77  J 


of  a house.  On  the  other  side  two  water  carriers 
are  fighting,  while  in  front  is  the  representation 
of  a well.  Between  the  figures  are  trees  and  vines 
with  convolvulus  blossom.  Height  17%  inches. 

The  rose  or  mauve  color  was  not  introduced 
into  Mexican  maiolica  until  the  beginning  of  the 
nineteenth  century.  This  interesting  piece  is  of 
about  that  period.  Plates  XXIII  and  XXV. 

73  Water  jar  with  handles,  a companion  to  the  pre- 

ceding. Similar  colors  have  been  used  in  the 
decoration,  but  the  figure  scenes  are  somewhat 
different.  At  the  front  is  a similar  design  of  a 
well,  by  the  side  of  which  a woman  stands.  An- 
other woman  is  shown  grinding  corn  on  a stone 
metate,  while  a third  woman  is  carrying  water 
and  leading  a boy  who  is  filling  a jug  at  a well. 
The  same  house  with  a ladder  is  shown,  the  sash 
of  the  upper  window  being  closed.  The  man 
stands  at  the  base  of  the  ladder,  with  a key  in  one 
hand  and  a staff  in  the  other.  Approaching  him 
is  a man  bearing  water  vessels.  About  1800. 
Height  17^8  inches.  Plates  XXIV  and  XXV. 

74  Covered  bowl.  Decoration  in  green,  brown,  and 
rose.  Inscription,  “Viva  Fernando  7”.  About 
1820.  Diameter  9 inches. 

The  ornamentation  consists  of  roses  painted  in 
a peculiar  mauve  tone,  and  was  evidently  done 
during  the  reign  of  Ferdinand  VII  of  Spain, 

[783 


Plate  XXIII. 


72 


Plate  XXIV. 


73 


Plate  XXV. 


( See  also  colored  plate ) 


Plate  XXVI 


which  extended  from  1808  to  1833.  This  is  an 
excellent  example  of  this  rare  and  beautiful  color. 

Plate  XXVI. 

75  Laver  or  basin.  Figure  decoration  in  poly- 

chrome— red,  green,  yellow,  and  brown — repre- 
senting “The  Baptism  of  the  Saviour.”  About 
1800.  Diameter  I2j4  inches.  Plate  XXVII. 

76  Large  plate  or  dish.  Decorated  in  brown  and 
red.  Inscription,  “Combento  de  la  SSma  M”. 
From  the  Convent  of  the  Holy  Trinity.  About 
1830.  Diameter  12^4  inches.  Plate  XXVIII. 

77  Globular  jar  with  polychrome  decoration — dark 

blue,  yellow,  green,  brown,  and  rose  color.  The 
shoulder  is  decorated  with  the  raised  dark  blue, 
containing  reserved  white  ornaments.  The  body 
is  embellished  with  vertical  bands  alternately 
white  and  yellow,  with  colored  ornamentation. 
This  interesting  piece  marks  the  transition  from 
the  monochrome  blue  to  the  colored  style  of  deco- 
ration and  dates  from  about  1800.  Height  11 
inches.  Plate  XXIX. 

78  Plate  with  scalloped  edge.  Border  decoration  in 

mauve  and  pale  blue.  Central  motive  is  a pillar 
taken  from  the  arms  of  the  Convent  of  the  E11- 
senanza,  Mexico  City.  About  1825.  Diameter 
8^4  inches.  Plate  XXXVII. 


79  Plate  with  scalloped  edge.  Border  decoration  in 
mauve  and  pale  blue.  Central  motive  is  a pillar 
taken  from  the  arms  of  the  Convent  of  the  En- 
senanza,  Mexico  City.  About  1825.  Diameter 
8%  inches. 

80  Covered  bowl  with  fluted  sides  decorated  in 
mauve  and  green.  About  1825.  Diameter  5^4 
inches. 

81  Jar  cover.  Polychrome  decoration — dark  blue, 
yellow,  green,  and  mauve.  Modeled  knob  in 
form  of  fruit.  This  example  shows  the  transi- 
tion from  the  blue  to  the  polychrome  decoration 
and  dates  from  about  1800.  Diameter  14  inches. 

82  Large  dish.  Polychrome  decoration — green,  yel- 
low, rose,  and  black.  Period  of  about  1820. 
Diameter  14^8  inches.  Marked  “CA”,  with  an 
“o”  over  the  “A”,  in  black. 

83  Large  dish.  Polychrome  decoration — pale  green, 
pink,  and  black.  The  central  design  is  a house 
surrounded  by  trees.  About  1825.  Diameter 
1 4J8  inches. 

84  Large  dish.  Polychrome  decoration — green, 
mauve,  yellow,  and  black.  About  1825.  Diam- 
eter 14^8  inches.  A monogram  consisting  of  the 
letters  “C  S”,  followed  by  a small  “o”. 


Plate  XXVII. 


Plate  XXVITT 


Plate  XXIX. 


ioi 


Plate  XXX. 


Plate  XXXI. 


Plate  XXXII. 


85  Small  bowl-shaped  jardiniere  or  tazza  with  two 
handles.  Decorated  in  g*reen,  yellow,  black,  and 
brick  red.  About  1840.  Diameter  534  inches. 

Plate  XXX. 

86  Jug  with  red,  yellow,  green,  and  black  ornamen- 
tation. About  1840.  Height  8jA  inches. 

Plate  XXXVIII. 

87  Pair  of  jars.  Decorated  in  red,  yellow,  and 
green.  About  1830.  Height  14  inches. 

Plate  XXXI. 

88  Large  bowl.  Decorated  in  yellow,  green,  black, 

mauve,  and  red.  About  1840.  Diameter  15% 
inches.  Plate  XXXII. 

89  Cup  with  handle.  Brick  red  border,  and  inscrip- 
tion in  black,  “Conbento  de  la  Sa  De  Queretaro”. 
About  1840.  Diameter  4 inches. 

Plate  XXXIII. 

90  Large  bowl  on  foot,  handles  modeled  in  forms  of 

human  heads.  Decorated  in  red,  yellow,  green, 
black,  and  mauve.  About  1835.  Height  7 Js 
inches.  Plate  XXXIV. 

91  Albarello  or  drug  jar  with  bands  of  conventional 
flowers  in  polychrome — red,  yellow,  green,  and 
black.  About  1820.  Height  8j4  inches. 

Plate  VIII. 

92  Spherical  jar  or  jug.  Decorated  with  red,  yel- 
low, green,  and  black.  Inscribed  “Antonio 
Lopes”,  in  black.  About  i860.  1 1 eight  7 inches. 

Plate  XXXV. 


93  Plate  with  irregular  border.  Decorated  in  yel- 

low, green,  red,  and  black.  Central  design,  a 
bull  in  yellow.  About  1850.  Diameter  8% 
inches.  Plate  XXXVI. 

94  Bowl  with  handles.  Polychrome  decoration  — 
red,  green,  and  black.  About  1845.  Diameter 
4%  inches. 

95  Large  dish.  Polychrome  decoration — red,  green, 
and  yellow.  About  1840.  Diameter  14^  inches. 

Plate  XLIV. 

96  Inkstand.  Circular  form.  Decorated  in  red  and 
green.  About  1840.  Diameter  3*4  inches. 

97  Inkstand.  Circular  form.  Decorated  in  red  and 
green.  About  1840.  Diameter  3J4  inches. 

98  Sand-shaker.  Hexagonal  form  decorated  in 

green  and  brown.  About  1840.  Diameter  354 
inches.  Plate  XIII. 

99  Sand-shaker.  Decorated  in  blue,  yellow,  and 
black.  About  1830.  Diameter  3^4  inches. 

100  Plate.  Yellow,  green,  and  black.  Central  design 
a parrot.  About  1840.  Diameter  8^4  inches. 

101  Barrel-shaped  jardiniere.  Yellow  and  green 

decoration.  About  1830.  Height  inches. 

Plate  XXIX. 


Cio23 


Plate  XXXIII. 


5late  XXXIV. 


Plate  XXXV. 


3late  XXXV  r. 


144 


Plate  XXXVII. 


Plate  XXXVIII. 


Plate  XXXIX. 


102 


Plate  XI 


102  Laver  or  bowl.  Polychrome  decoration — red, 

yellow,  green,  and  brown.  About  1840.  Diam- 
eter 18  inches.  Plate  XXXIX. 

103  Plate.  Decorated  in  yellow  and  raised  blue. 
About  1800.  Diameter  8%  inches. 

Plate  XXXVII. 

104  Spherical  jar.  With  arms  of  Carmelite  order  in 

brown  on  bright  yellow  ground.  About  1840. 
Height  11 J4  inches.  Plate  XL. 

105  Plate  with  blue  decoration.  Central  design  of  a 
house.  About  1850.  Diameter  8j4  inches. 

106  Jug.  Decorated  in  raised  blue.  Inscribed  “El 
que  noba  enbia,  consugavito  al  apulqueno”. 
About  1800.  Height  inches.  Plate  XXXVIII. 

107  Jug  with  black  and  yellow  ornament.  About 

1830.  Height  8J4  inches.  Plate  XIV. 

108  Bowl.  Blue  decoration.  About  1840.  Diameter 
9^4  inches. 

109  Bowl.  Blue  conventional  decoration.  About 

1840.  Diameter  13JJ  inches.  Plate  XLI. 

110  Benitier.  Brown  decoration.  From  Convent  of 

Santa  Cruz,  Oueretaro,  Mexico.  About  1840. 
Height  9 inches.  Plate  XLIII. 


C”9n 


hi  Large  basin  with  arms  of  La  Merced  Convent,  in 
bine.  About  1840.  Diameter  14^4  inches. 

Plate  XL  I. 

1 12  Benitier.  Decorated  in  blue  and  yellow.  About 

1830.  Height  10%  inches.  Plate  XLII. 

1 13  Large  plate.  Decorated  in  yellow  and  black. 
About  1830.  Diameter  13%  inches. 

Plate  XXVIII. 

1 14  Large  plate.  Decorated  in  blue,  green,  and  black 

on  yellow  ground.  About  1830.  Diameter  13  J4 
inches.  Marked  in  black.  Plate  XLV. 

1 15  Plate.  Polychrome  decoration  on  pale  blue 
ground.  About  1840.  Diameter  8^4  inches. 
Marked  in  black. 

1 16  Large  bowl  with  fluted  sides.  Decorated  in  dark 
blue  and  polychrome  on  pale  blue  ground.  Cen- 
tral design,  a man  on  horseback.  About  1820. 
Diameter  14^4  inches.  Marked  “CS”. 

Plate  XLIV. 

1 17  Large  plate  with  scalloped  edge.  Dark  blue  and 
polychrome  decoration  on  pale  blue  ground. 
About  1820.  Diameter  13J4  inches.  Plate  XLV. 

1 18  Large  plate  with  scalloped  edge.  Dark  blue  and 
polychrome  decoration  011  pale  blue  ground. 
About  1820.  Diameter  13^2  inches. 

Ci2°3 


Plate  XU 


hi 


1 12 


54 


Plate  XLII. 


Plate  XLTTI. 


Plate  XLIV. 


Plate  XLV. 


1 14 


1 19  Large  plate  with  scalloped  edge.  Dark  blue  and 
polychrome  decoration  on  pale  blue  ground. 
About  1820.  Diameter  15%  inches. 

120  Plate.  Dark  blue  and  polychrome  decoration  on 
pale  blue  ground.  About  1820.  Diameter  8}4 
inches. 

1 21  Plate.  Decorated  in  dark  blue  and  polychrome 
on  pale  blue  ground.  About  1820.  Diameter 
8 $4  inches. 

122  Pair  of  salt-cellars.  Decorated  in  dark  blue  and 
polychrome  on  pale  blue  ground.  About  1820. 
Height  2 inches. 

123  Jar-shaped  cup  with  two  handles.  Decorated  in 
dark  blue  and  polychrome  on  pale  blue  ground. 
About  1830.  Height  4^4  inches. 

124  Benitier.  Decorated  in  dark  blue,  yellow,  and 
green  on  pale  blue  ground.  About  1820.  Height 
10  inches. 

125  Small  tea-pot.  Decorated  in  dark  blue  and  poly- 
chrome on  pale  blue  ground.  About  1830. 
Height  4j/4  inches. 


126  Barrel-shaped  mug. 


Decorated  in  dark  blue  and 


polychrome  on  pale  blue  ground.  About  1820. 
Height  9 inches.  Plate  XXXVIII. 

127  Urn-shaped  jardiniere  with  two  handles.  Dark 

blue  and  polychrome  on  pale  blue  ground.  About 
1830.  Height  12^8  inches.  Plate  XLVI. 

128  Large  bowl.  Dark  blue  and  polychrome  on  pale 

blue  ground.  About  1830.  Diameter  1 
inches.  Plate  XLVI. 


129  Large  vase-shaped  jardiniere.  Dark  blue  and 
polychrome  on  pale  blue  ground.  About  1830. 


Height  26  inches. 

130  Albarello  or  drug  jar. 
Height  nj4  inches. 


Plate  XL VII. 

Blue  glaze.  About  1840. 

Plate  XII. 


13 1 Albarello  or  drug  jar.  Blue  glaze.  About  i860. 

Height  1 1 inches.  Plate  XII. 

132  Bowl-shaped  candlestick.  White  glaze.  Slight 
blue  decoration.  About  i860.  Height  3L2  inches. 

Plate  XV. 

133  Small  vase.  Blue  bands.  Nineteenth  century. 
Height  4%  inches. 


134  Cover  or  lid.  Blue  decoration.  Nineteenth  cen 
tury.  Diameter  2^  inches.  (See  56.) 


Plate  XLVI. 


1 2Q 


Plate  XLVII. 


3late  XLVin.  136 


135  Benitier.  Yellow,  blue,  and  green  decoration. 
Nineteenth  century.  Height  12 pg  inches. 

Plate  XLIII. 

136  Large  candlestick  in  the  form  of  a sitting  dog. 

White  glaze.  Has  been  decorated  with  red  and 
green  paint  and  gilding,  and  was  probably  used 
in  a church  or  convent.  About  1830.  Height 
1 5 >4  inches.  Plate  XL VII I. 

137  Cylindrical  jar  with  handles.  Profusely  deco- 
rated in  green,  red,  and  yellow.  About  1840- 
1860.  Height  13^  inches. 

138  Cylindrical  jar  with  handles.  Polychrome  figure 
decoration.  About  1865.  Height  8J4  inches. 

139  Cylindrical  jar  with  handles.  Polychrome  deco- 
ration. About  1865.  Height  inches. 

Plate  XLIX. 

140  Covered  jar.  Polychrome  decoration.  About 
1840-1860.  Height  1 1 inches.  Plate  XXXV. 

141  Jar.  Polychrome  decoration.  Nineteenth  cen- 
tury. Height  7 inches. 

142  Inkstand.  Polychrome  decoration.  Curious 
shape.  About  i860.  Height  2J6  inches. 

143  Dish.  Blue  and  red  decoration.  Nineteenth  cen- 
tury. Diameter  7 inches. 


144  Plate.  Polychrome  decoration.  Figure  of 

woman  in  the  center.  Nineteenth  century. 
Diameter  7 inches.  Plate  XXXVI. 

145  Laver  or  bowl.  Polychrome  floral  decoration. 
About  1850.  Diameter  19^2  inches.  Plate  L. 

146  Oblong  dish  or  platter  with  waving*  edge.  Deco- 

rated in  polychrome  with  figure  scene.  About 
middle  of  the  nineteenth  century.  Length 
inches.  Plate  XXXVI. 


MODERN  PIECES 
LATE  NINETEENTH  CENTURY 

147  Baptismal  basin.  Decorated  in  polychrome  with 
subject,  “The  Baptism  of  the  Saviour”.  Diam- 
eter 16^4  inches. 

148  Large  fluted  bowl.  Polychrome  decoration. 
Diameter  13^4  inches. 

149  Bowl  with  polychrome  decoration.  Diameter 
8j4  inches. 

150  Bowl.  Polychrome  decoration.  Diameter  8j4 
inches. 

15 1 Cylindrical  jar  with  two  handles.  Polychrome 
decoration.  Height  13  inches. 

Chou 


Plate  XLIX. 


Plate  L. 


152  Cover  of  jar.  Polychrome  decoration.  Diam- 
eter I2j4  inches. 

153  Plate.  Dark  blue  design.  Diameter  gY/2  inches. 

154  Dish.  Conventional  polychrome  designs.  Diam- 
eter 9 inches. 

155,  Large  inkstand  of  star  form  with  stopper. 
Decorated  in  blue  monochrome  with  human 
figures,  birds,  and  animals.  Diameter 
inches. 

157  Tile  lavatory,  containing  three  lavers,  or  basins, 
decorated  in  polychrome,  with  vases  of  flowers 
and  escutcheon  of  the  Franciscan  monks.  About 
1830. 


LEAD-GLAZED  POTTERY 

Sgraffito,  or  slip-decorated,  pottery  was  pro- 
duced at  Guanajuato,  Mexico,  in  the  first  part  of 
the  nineteenth  century. 

158  Oval  shaving-dish  of  red  clay,  covered  with  white 
slip  with  incised  floral  ornaments  in  red  and 
green.  Guanajuato,  about  1830.  Plate  LT. 

t 59  Large  dish  or  plate  of  red  clay,  covered  with  in- 
cised ornaments  representing  a vase  of  flowers 


and  birds  in  green  and  brown.  Guanajuato, 
about  1830.  Plate  LI. 


160  Figure  of  a deer  in  sitting  attitude.  Two  holes 
in  the  head  indicate  that  antlers,  made  separately, 
were  intended  to  be  inserted.  This  curious  ex- 
ample found  in  Mexico  was  probably  brought 
from  China  and  is  not  of  Mexican  workmanship. 
Large  quantities  of  Chinese  pottery  and  porcelain 
were  imported  into  Mexico  in  the  seventeenth, 
eighteenth,  and  nineteenth  centuries.  Plate  LIT. 


SPANISH  MAIOLICA 

The  following  described  pieces,  found  in  Mexico, 
are  of  Spanish  origin. 

1 61  Albarello  or  drug  jar.  Decorated  with  the 

crowned,  double-headed  Austrian  eagle,  in  blue. 
Talavera,  Spain.  About  the  middle  of  the  nine- 
teenth century.  Height  8 inches.  Plate  IX. 

162  Large  plate.  Decorated  with  floral  and  bird  de- 
signs in  blue.  Talavera,  Spain.  Early  nineteenth 
century. 

163  Large  plate  with  heraldic  design  in  blue.  Tala- 
vera, Spain.  Late  eighteenth  century. 

CH63 


Plate  LI. 


Plate  LIT. 


160 


164  Large  plate  with  blue  heraldic  design.  Talavera, 
Spain.  Early  nineteenth  century. 

165  Oblong  dish  or  platter.  Polychrome  decoration. 
Inscribed  “D.  Favsto  Agvada”.  Length  10 
inches. 

166  Cup.  Blue  decoration.  Probably  Talavera, 
Spain.  Late  eighteenth  century.  Plate  XXXIII. 

167  Cup.  Polychrome  decoration.  Talavera,  Spain. 
Late  eighteenth  century. 

168  Cup.  Blue  decoration.  Talavera,  Spain.  Early 
nineteenth  century. 

169  Tazza.  Conventional  bird  and  floral  decoration 

in  dark  blue.  Talavera,  Spain.  About  1775- 
1800.  Diameter  10  inches.  Plate  XXXVII. 


I 


